Tag: Jim Bachus

A real disaster. That’s what His Kind of Woman could have easily been because with Howard Hughes meddling in any production it was very likely that something would get dragged out, lopped off, or in some way switched around.

In this case, the whole film was shot by John Farrow only for Hughes to bring in Richard Fleischer (The Narrow Margin) to reshoot some material as well as calling on the services of Earl Fenton for some script doctoring. Not only that, but the picture sat on shelves unreleased for at least a year. Despite Hughes’ best efforts even unintentionally, His Kind of Woman somehow still succeeds for the very fact that it is so different from many of its contemporaries.

There are moments in hindsight where you see where one thread was tied to another or one scene was inserted to make the story comprehensible. However, in its essence, this picture is not so much a product of its plot but of its characters and the tone it deems germane in any given situation.

The chemistry is sizzling hot down to the last clothes iron between Robert Mitchum and Jane Russell. It’s also a contest of the sidelong glances as they both case each other’s faces with their pair of iconic eyes. One pair indifferently cool as Mitchum always was and Russell as her playfully seductive self. But this venture is as much of a farce as it a true blue film noir. More on that momentarily.

It opens in Italy where a gangster (Raymond Burr) is on the lamb still trying to figure out how to get back into the U.S. to protect his interests. Our narrator (Charles McGraw) relates the action from Italy to Mexico and then Los Angeles where we finally get a line of one of our stars. Dan Milner (Robert Mitchum) is a detached gambler with few things tying him down when he receives a house call.

The premise, on the whole, is an odd one. Mitchum goes to Morro Lodge on assignment. His orders are to wait and he gets $15,000 in advance for doing so and $50,000 total. We don’t know why he’s there but it gives us time to feel out the people who inhabit this curious getaway on a hidden inlet below the Mexican border. And it’s quite the crew aside from those already mentioned. It’s the same story for about an hour and the good news is it’s actually quite a diverting place to be.

We find out that Mitchum does have a noble side pulling a parlor trick in a game of poker that feels rather like Rick’s roulette wheel in Casablanca (1942). Then, a swacked pilot drops down at the nearby airfield. At first, it’s easy to surmise he’s a Howard Hughes caricature until you realize he’s actually a Federal Agent. Otherwise, we don’t know what we’re waiting for or even really why we’re waiting at all but in the meantime, we have some quality entertainment — a real first-rate floorshow from the stock company.

Jim Bachus is a wise-cracking real estate man who constantly searches out his latest gin rummy partner while trying to relive his old glory days out on the football field to impress the wife of another vacationer. His flabby physique and general manner do not do much to win her over. Still, he’s not a bad sort of fellow though he thinks the love life of a real estate man might make a good motion picture.

Anyways, the true attraction and the figure who causes us to stick around and truly relish the back end of His Kind of Woman is Vincent Price. He provides one of his most brilliantly wacky performances to offset any moments in the film that might give the pretense of being serious.

Mark Cardigan is batty about hunting and so enraptured with his own performances on the screen. One night he’s cooking up his duck for a nice dinner for three only to get his party disrupted by his publicity agent who also brought his estranged wife. Finally, he goes into battle spouting off Hamlet just as the film starts getting tense and someone must be spurred to action.

He’s a gung-ho hero both on the screen and off gathering the most delightfully mismatched band for his counterattack on the enemy fleet parked nearby. But to say they’re sunk before they’ve started proves too true.

What follows is a perfect collision of tones as has probably never before been captured in film noir. Though I must admit it’s a bit of a shame that Jane Russell is conceivably trapped in a closet for much of the film’s prolonged finale. She did so much to bolster the opening moments but alas Robert Mitchum is at it alone fleeing his adversary aboard a clandestine barge.

In fact, everything takes a turn toward a brutal course that feels much more like prototypical noir. However, this cannot outlast the vein of light humor and sensual chemistry that comes with the onslaught of Vincent Price and his seafaring battalion followed by a romantic reunion. Russell gets out of the closet just long enough for another sweltering exchange with Mitchum that reminds us just why she was missed.

Like this:

“You’re silk on one side and sandpaper on the other.” – Richard Widmark as Jed Powers

For a film so short, Don’t Bother Knocking is overflowing with wonderful talent from Richard Widmark to Anne Bancroft to a haunting performance from Marilyn Monroe. Then Elisha Cook Jr. shows up as the obliging doorman, Jim Bachus as a young girl’s father, and even the prolific Willis Bouchey takes a turn as the bartender. It’s one of those story’s that revels in the classical age of the Hollywood studio actor. The familiar faces carry with them a certain amount of depth that allows the characters to mean so much in only a few fractions of the time normally required.

Anne Bancroft’s nightclub singing (in her screen debut) sets the background mood for everything going on within the McKinley Hotel — a seemingly upstanding establishment. It’s precisely this aloof demeanor established by the music that lends itself nicely to the strangely haunting aspects of the film.

All characters seem to lack passion, emotion, and most any type of energy except the bubbly camera gal who goes around trying to sell snapshots to patrons. Widmark is at his morose dirtbag best yet again as Jed Towers, a guy who can’t figure why his girl has dumped him.

It’s a chamber piece, and while not a man on a ledge story like Fourteen Hours, it still uses the corridors and diegetic street sounds to create a mildly intriguing environment for some minor noir thrills. You can see the lust in Widmark’s eyes when he looks out the window at Monroe prancing and swaying about seductively. Little does he know what her deal is. His frustration with life and love is right at the center of this film and he must rectify his situation one way or another.

For her part, she has some telltale signs of psychological distress aside from a constantly glazed expression. Namely, scars on her wrists. Strings of little white lies, compulsive fibs that trickle out and a flustered edge that slowly becomes more and more demented by the minute.Whether it’s Monroe’s best performance is up for interpretation but it’s certainly her most terrifyingly dramatic.

She becomes the lightning rod for all the drama, lashing out against the little girl put in her stead and distressing her uncle (Elisha Cook Jr.) who got her this gig, despite her utter lack of experience. Nell Forbes flutters so quickly between fear and hysteria, at first wary of Towers and fawning all over him the next moment — afraid that he will leave her.

It’s her histrionics that force a reaction out of Jed. He must choose what type of guy he wants to be, whether he chooses the tame or wild side of life. And as it turns out, there’s absolutely no contest in the end. He knows full well which girl is for him.

Unfortunately, the ending is a bit of a cop-out, because it is the relational and psychological dysfunction of the characters that becomes most rewarding and, in the end, most indicative of the noir malaise. A happy resolution, therefore, does not stay true to the heart and soul of this film. Stone cold and depraved. Still, this one’s a winner at 76 minutes.

“You can wake up now, the universe has ended.” – Jim Stark to Plato in Griffith Observatory

James Dean’s “The Rebel Without a Cause.” It’s his image as much as it is a film for many people. But if we actually take the time to examine him, Dean subverts expectations. There’s this aura built around him as that iconic rebel–cigarette in hand–a glint in his eyes. However, the beauty of his performance as Jim Stark is how broken and even gentle it is. Certainly, we remember the moments where he screams at parents, bashes in desks and kicks paintings, but really most of his screen time is made of quiet nuances. He has no friends. He’s lonely and reserved. He just wants respect.

He wants someone to listen to him–someone to stand up for what’s right. And he feels like a pendulum swinging madly between his bickering parents, constantly making him go this way and that, moving from town to town, time and time again. It sickens him and he reacts in the only way he knows.

Rebel is just as much a subversive film, being so daring as to suggest that juvenile delinquency is a sort of created social construct. Kids do bad things, sure, teens are no good, but if you dig around a bit and look in the closets, the skeletons reveal themselves in due time. We now conveniently call them “family of origin issues,” but that puts everything in a nice box when the reality is actually very messy.

That’s why the crucial scene in Rebel is when our three solitary teens go to Plato’s (Sal Mineo) abandoned mansion getaway in the dead of night. Alone it would be a house of horrors, but in community, they make it a pleasant affair–even playing a game of “house” complete with stuffy honeymooners, who don’t want kids unless they never have to see or talk to them again and a realtor who is is willing to give them the place for $3 million a month (Thankfully the newlyweds have a budget!). In essence, amidst their jests, they’ve become one happy family, finding a bit of solace from the asphyxiation of the world around them. The world accentuated by not only their parents but their peers too. However, it cannot last.

It’s these moments that feel so light and carefree and that’s the key. Blink and you’ll miss them. Look away and the bubble is popped. Focus on the drama and you’ll get it all wrong. Because the moments of drama are exactly the moments that you expect to get some deeper understanding of their psyches. You look at Jim in the now iconic scene on the staircase, quarreling with his parents or Plato running off like a frightened rabbit packing a gun. We can shake our heads and ask “why?” but if we only sit back and listen, it becomes all too obvious.

If Mr. and Mrs. Stark just listened, if Judy’s parent’s paid heed to her, if Plato actually had parents present in his life, maybe they could see what was “tearing them apart.” The suffocating hopelessness of the world that seems magnified tenfold in your adolescent years, as things are changing so rapidly. You’re getting pressured beyond belief and to top it off, it seems like no one understands you–not in the least.

Thanks be to Nicholas Ray for bringing such an intimate study of youth to light, because it’s certainly melodrama, elevated by the unpredictable magic that is James Dean. That’s often the spotlight of this film and quite understandably so, given the lore around his legendary career and tragic death.

But cull its depths and there’s even more if we look at how everything is initially foreshadowed at the Observatory, where the man in a droll tone nonchalantly summarizes the insignificant end of earth–only an infinitesimal speck in the patchwork of the universe (“In all the immensity of our universe and the galaxies beyond, the earth will not be missed. Through the infinite reaches of space, the problems of man seem trivial and naive indeed, and man existing alone seems himself an episode of little consequence”).

Buzz tells Jim before their “Chickie Run” that he actually kind of likes the guy now, but still, “You gotta do something. Don’t you?” It’s the despondency of their existence. Buzz soon dies and people hardly bat an eye.

Never before had I considered how this entire story unfolds in the course of one tragic day. It’s not realism by any means, but instead, it’s bursting with the passion and pain as reflected by Ray’s camera and impeccable use of color. It’s as if the teenage experience is being wholly magnified and consolidated into a single moment. That’s what Rebel Without a Cause embodies.

A film starring James Dean, Natalie Wood, and Sal Mineo, with direction by Nicholas Ray, Rebel Without a Cause follows three teenagers, who are confused and conflicted about their lives. The initial sequence rolling behind the opening credits has the inebriated Jim Stark lying in the street fiddling with a toy monkey. Then, he is brought into juvenile hall, and simultaneously the story gives us a glimpse of not only the rowdy Jim, but discontented Judy, and the distant boy Plato. Each one has their own personal pain, and thus this film from the beginning really focuses on three rebels, who embody the adolescent generation. James Dean is Jim Stark: the new kid on the block, who is constantly moving with his parents. In the station when his parents retrieve him, there is obvious tension on all fronts, which include heated arguments, and outbursts on the part of Jim.

The morning after being brought in he meets Judy only to get mixed up with her friends. Stark however also befriends the isolated loner Plato, who was in the station the night before. The trouble with the other teens starts with a switchblade contest during a school excursion to Griffith Observatory, but the stakes get bigger when they compete in a “Chickie Run” over a cliff. Stark lives but the other boy, Buzz, dies in the accident. Everyone flees the scene before the police arrive.

Stuck between a rock and a hard place, Dean and Wood’s characters gravitate towards each other. Their parents seemingly do not understand them, and so they find comfort in each other instead. Their new found friend Plato tags along as they hold up in an abandoned mansion for the night. They spend the evening lounging around, making light of their parents and just talking.

However, all does not bode well when some of the high school thugs come looking for Stark. Plato flees the scene with a gun, and soon he has policemen on his tail. Plato is in a paranoid and unstable state. Jim tries to console him and bring him out peacefully. But despite his best efforts, tragedy strikes one final blow. All is not wasted, however, because Jim’s father (Jim Bachus) vows to be a better and stronger parent than he was before. Following his breakthrough in East of Eden, Rebel would be the movie that defined Dean’s short but iconic career. His line “you’re tearing me apart!” would further define the angst felt by many teens at the time. There is a certain aura around this film for some reason, maybe because of Dean’s portrayal that is at times so moody, and at other times so subtle, but powerful nonetheless.

I think part of the credit must go to director Nicholas Ray, who gave Dean free reign to improvise and develop his character in the way he saw fit. The film is tragic in another sense because all the primary stars died at an early age. Dean’s is the most remembered, but Mineo and Wood, both died extremely young as well. In Rebel Without a Cause, they all gave memorable performances and there are other notable players in this film including the usually comedic Jim Bachus and a very young Dennis Hopper.I think Rebel ultimately survives today because it tells a universal tale of a generational divide and a divide between young people fighting peer pressure. In the heads of teenagers the world can become jumbled and between school, fitting in, and home life it can be a struggle. This film dramatically illustrates that fact. So maybe the kids look different, the cars are older and such, but the struggles of Jim Stark, Judy, and Plato are still relatively the same. I must say this film really makes me want to visit the Griffith Observatory too, because it became such an integral part of this film’s story, and it is still around to this day.

James Dean only had three major film performances and you could make a case for which was the best. I think it is safe to say that this role was his most iconic. It’s hard not to identify him with his red jacket, blue jeans, and the ubiquitous cigarette. He was the Rebel Without a Cause.